Q&A with Corporate Partnerships Manager, Joe Chapman
From the bright lights of the stage to beyond the stage has been a whirlwind journey for Joe Chapman. The former Queensland Ballet Company Artist joined the business side of the building in 2023, taking up the role of Corporate Partnerships Manager and offering a unique perspective to the role.
Joe danced with The Australian Ballet as part of the corps de ballet from 2012, and was later promoted to coryphée in 2015. In 2018, he joined The National Ballet of Canada, where he performed as a Second Soloist. In 2021, we welcomed him back to Australia to join the Queensland Ballet family as Company Artist, and are now thrilled to have his keen creative insight in the Corporate Partnerships team where he nurtures and develops Queensland Ballet’s relationships with leading Australian brands.
Describe the moment that you discovered your love for ballet.
The moment I remember most clearly is seeing Paris Opera Ballet perform their version of Swan Lake, Nureyev’s Le Lac des Cygnes at The Opéra Bastille. I had watched a video of the production countless times and to witness it live was something I will never forget. I could watch that production forever! If I could have one ballet video to watch while stranded on a desert island, that would be it!
What aspects do you find most rewarding about the artform?
Performing was always rewarding. It induces a euphoric feeling that stays with you for a few hours, but then eventually disappears, which can sometimes feel strange. When I was dancing, I found the most rewarding aspects of the artform were seeing progress or making discoveries through consistent daily work - through that work, the execution of the steps became second nature, and I could be present emotionally for those fleeting on-stage moments.
What do you find the most challenging?
Not being busy! I have to keep myself busy because I don’t like the idea that I could be wasting time!
What was your favourite role you performed?
It’s so hard to choose just one! Franz, in Dame Peggy van Praagh’s Coppelia was my first full-length ballet in a Principal role, so that was very exciting. I had grown up watching a video of the production, so it felt very special to have the opportunity to interpret the role myself. By far the most fun I’ve ever had, was as ‘The March Hare’ In Christopher Wheeldon’s Alice’s Adventures in Wonderland!
What is the most challenging role you have performed?
Another one of my favourite roles, but definitely one of the most challenging, would be the role I danced in Frederick Ashton’s Symphonic Variations. It was something I never thought I would have the opportunity to dance; it was very nerve wracking, but the process with my coach prepared me well for the performances.
Who was your favourite choreographer that you worked with?
It is impossible to choose one! Crystal Pite is one of the greatest choreographers currently creating. Dancing her work at The Mariinski in 2018 and then working with her in 2019 and 2020 on a new creation was incredible. She is a one-of-a-kind creative, collaborator, teacher and rehearsal director. She is also a good person, which makes working with her a pleasure.
I have danced Jîrà Kylián works three times in my career. While working with him directly would be incredible, I have been very lucky to learn from repetiteurs who danced with Nederlands Dans Theater when he was creating. In the world of classical ballet, Christopher Wheeldon is someone I would love to work with again, his creations are some of the most important of the 21st century and he is a brilliant storyteller….and one more, I wish I could time travel to work with John Cranko. When I dance his choreography (which I have only once or twice) I feel at my most expressive.
What was your daily routine as a dancer?
My routine changed depending on my workload. During a time where we were rehearsing and not performing, my day started with specific exercises that addressed areas of weakness or misalignment in my body. Then class, which is an essential part of every day; it was an opportunity to refine the simple but often challenging technical elements that make up classical ballet. I find that the more challenging classes made rehearsals feel easier.
The rest of the day was filled with rehearsals. If there was any free time, I liked to do other forms of exercise that released endorphins and helped work up a sweat. Sometimes I did specific cross training that helped achieve a required level of fitness or strength that would help with upcoming repertoire. On performance day, pre-class exercises and class started a bit later (which allowed time for an extra coffee!), and after a shorter rehearsal, there would be a longer break before the performance. On those days I often didn’t get home until 11pm so it was important to be organised and have healthy meals made in advance.
How was your experience starting at Queensland Ballet in 2021?
I am incredibly lucky to have had the opportunity to dance back home in Australia. I was very thankful to Li Cunxin AO and Queensland Ballet for bringing me into the Company in what was an exciting year! There is an energy within the Company and I am in awe of how they have grown in recent years. It is a world-renowned ballet Company and I am still excited to be here!
Which productions did you enjoy performing in the most as a Queensland Ballet Company Artist?
Can I say all of them!? Harald Lander’s Études, which featured in the 60th Anniversary Gala season, was an exciting piece. It’s a work performed only by the best ballet companies in the world! The Bespoke season was fantastic too. To have so many Australian choreographers commissioned for one season is unique to Queensland Ballet, and it was a wonderful opportunity to welcome audiences to the newly renovated Thomas Dixon Centre to experience a variety of diverse choreographic voices.
In 2022 you left the Queensland stage and moved to New York – tell us about this experience.
Last year I worked for a production company, ByDesign TV in New York, that produces design focused TV shows for CBS. My role encompassed online content and Segment Producing, Directing and Partnership Management. I was able to refine my skills in copy and script writing, conceive and realise creative projects and ensure sponsored content was in line with ByDesign's brand. I continue to manage their online presence and newsletter, which gives me an enjoyable creative outlet.
And this year we welcomed you back to Queensland Ballet’s business side as Corporate Partnerships Manager. What are you enjoying about your new role?
My new role allows me the opportunity to champion and facilitate an artform that has been an integral part of my life. I have always been interested in how art can enrich the lives of those who have access. For that reason, I am inspired by the scope of possibility realisable when arts organisations engage with their communities.
On a personal level, it brings me great pride to represent a ballet company that I respect so deeply. Working with and learning from our truly inspirational arts leaders is an incredibly opportunity. And assisting in building a platform that advances Queensland Ballet’s already impressive reach feels like a natural and poetic way to give back to the artform and to QB.
To find out more about Joe, click Here
Photo credit: Karolina Kuras
